Archive for the Painting Category

French Farce

Posted in FILM, MUSIC, Painting, Radio, Television with tags , , , , , , , , , , , , , , , , , , , , , on November 25, 2014 by dcairns

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Things done –

Pere Lachaise Cemetery – people kept asking me if I knew where Jim Morrison was, but I was avoiding him. Also Edith Piaf. The only famous person I met was Ticky Holgado, whose terrifying sepulchre, depicted above, evokes the awe and horror of death better than any of the more tasteful tombs.

Charcuterie. With two ex-students: one is working as a nanny and being bitten all over by small children while pursuing her documentary career, the other was attending a fantastique film fest (but they weren’t showing LET US PREY so I’m safe).

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Coffee at the Hotel du Nord, from the film of the same name, avec Phoebe Green, who sometimes appears in these pages as La Faustin, and who was our translator on NATAN. You can’t get a view of the hotel through the bridge as Marcel Carne manages in his film — having rebuilt the whole neighbourhood in the studio he could shuffle things around, lose a few trees, and arrange things to the camera’s advantage.

Lunch at the Cinematheque – boeuf bourgignon where I bought many postcards, also some awesome KING KONG flipbooks. It’s quite something to have Kong waving his arms about in the palm of your hand.

There’s a lovely Truffaut exhibition on just now, with letters and photos and other souvenirs – not the Jeanne Moreau letters, she’s sitting on those – and it was a chance to nod sadly at the image of Marie Dubois, one of our recent departures for realms unknown. Truffaut ought to feature in the Late Movies Blogathon, come to think of it – I have a soft spot for VIVEMENT DIMANCHE! And THE GREEN ROOM is one of the most apt late films of all.

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Truffaut’s boyhood notebook — LE CORBEAU, he recorded later, was the first film he saw twice. But what caught my eye, of course, was the Pathe-Natan LE MISERABLES, which must have been on its post-war re-release, hopefully with the Jewish names restored to the credits which were removed under the Nazis.

St. Sulpice, a large church featuring some impenetrably dark works by Delacroix.

Many many bookshops, where my inability to read French prevented me from making many an extravagant purchase, like the giant book of stereoscopic images of diabolical tableaux – little dioramas with miniature imps and demons frozen in the act of cavorting with pitchforks and other accoutrements — co-authored by Brian May of Queen. The kind of book one SHOULD own. But I couldn’t walk away from the little pamphlet by Samson Raphaelson, his memoir of working with Lubitsch. It was only four euros, and reading the first few sentences I was pleased to discover that my schoolboy French did not leave me wholly in the dark. Actually, I need to modify the expression “schoolboy French” lest I be seen to traduce the educational system. Some qualifier like “concussed schoolboy French” or “sleeping schoolboy French” gives you a better idea.

Now, since I need to see a movie, obviously, and I need a movie I have a chance of understanding, preferably, I have been drawn to the Cinema Desperado, whose Romy Schneider season is featuring WHAT’S NEW PUSSYCAT. I’ve never actually seen the whole thing. TV versions were always pan-and-scanned and just TOO SMALL to allow Richard Williams’ elaborate titles to be enjoyed… the documentary series Hollywood UK more or less accused this film of ruining British cinema, since it led to the excesses of CASINO ROYALE and the belief that throwing enough gaily coloured, fashionable shit at the screen would be enough to attract and keep an audience. And I have a complex, mostly abusive relationship with the works of Clive Donner, though it’s never been entirely clear whether it’s abusing me or I’m abusing it. Here goes nothing…

(Typed at 17:41 in a café with no internet.)

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Later – well that was highly enjoyable. Can’t remember the last 35mm projection I saw – probably THE BOFORS GUN at EIFF. The cinema belongs to Jean-Pierre Mocky and shows all his films, a different one every day.

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The film is a hot mess, as expected, but there are very funny, silly bits, and some clever bits too. The editing is all over the place – continuity is appalling, but that is sometimes evidence of a cutter following the rhythms, or creating them, and saying the hell with making stuff match. But there are clear signs of whole sequences having been moved about on a whim (probably that of increasingly erratic producer Charles K. Feldman), characters show up out of the blue (not Ursula Andress, who does so literally, as a deliberate gag, but people like the bomb-throwing anarchist, who the script must have intended to set up earlier as Paula Prentiss’s boyfriend), and Paula Prentiss’s early scenes appear to have been set upon with a meat cleaver – the conversations have been hacked into nonsensical soundbites, set-ups for gags that never come or punchlines to gags never set up.

Fortunately, Peter O’Toole is usually able to find his way through a scene if it’s allowed to proceed in sequence, dragging co-stars behind him, and Peter Sellers augments the best lines of Woody Allen’s script with nonsense of his own (therapist Fritz Fassbender curses upon soaking his thighs with petrol: “Geschplund!” A straight Goon Show quote if ever there was one).

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It’s a shame about the messiness because feckless dithering in the control room is the last thing a tight farce needs, and there’s some evidence that Allen had constructed such a farce. The idea is a sound one – a shameless philanderer decides to get married and be faithful, and suddenly he’s besieged by beautiful women. Capucine’s nymphomaniac Mrs. LeFevre is possibly the funniest actor in the film, despite not getting any actual jokes. She just has beautiful timing and emphasis, and makes the other actors funnier in turn (Sellers: “You look ravishing in zat whistle”). The colossal beach whore from EIGHT AND A HALF, dressed as a Valkyrie, is also good value.

The whole cast gets assembled for a climax at a country hotel, with a rampant Andress in dropping into O’Toole’s lap from the heavens (“I yam a paris-chew-diss!”), stripping off her aviatrix jumpsuit to reveal a seductress jumpsuit underneath, then ditching that too. Oddly, despite the crummy continuity, Andress running through the hotel in her undies always has her undies disarrayed the same way from shot to shot, left butt cheek bulging out.

Disappointingly, after scene after scene of stunningly beautiful, chic Parisian sets by Richard Sylbert, the hotel is mostly a dowdy location, and rather than giving us a satisfactory conclusion there’s mere chaos, and O’Toole getting nagged by his new bride at the fade-out. Still, as she accuses him of looking at another woman (Francoise Hardy!), O’Toole enunciates acidly: “I *had* to look at her, she was *speaking* to me. I Turned in the Direction of the Sound.”

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The Sunday Intertitle: Paris Doesn’t Exist

Posted in Comics, FILM, Painting with tags , , , , , , , , , on November 23, 2014 by dcairns

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A frame from PARIS N’EXISTE PAS (1969), Robert Benayoun’s uber-cool art flick about bohemian modern art types, one of whom starts experiencing weird instances of objects moving around the room by themselves — I was reminded of David Bowie’s Berlin period hallucinations of furniture gone walkies, and also Maupassant’s short story What Is It? in which the narrator is plagued by the discovery that ALL furniture enjoys an active life the moment our backs are turned, just like the toys in TOY STORY.

The movie — which somewhat resembles Clouzot’s kinetic art melodrama LA PRISONNIERE from the same period, only without the s&m roleplay and with Serge Gainsbourg, puffing away at a cigarette holder in an invigorating embodiment of the concept of “louche” — could have been merely trendy, with its flash-cuts of cartoon panels to create a kind of cinematic Roy Lichtenstein feel, but I think it has more on the ball than that. Also, it’s fun spotting the cartoons of Hugo Pratt, Charles Schultz et al. I doubt copyright was paid.

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It’s a good film to be watching in my ultramodern flat in Paris, loaned to me by Francoise Ickowitz, grand-daughter of Bernard Natan. Francoise has, I think inherited some of her aunt’s taste — producer Monique Natan, Bernard’s niece, was responsible for producing Alain Jessua’s comic-book murder yarn JEU DE MASSACRE (1967) and Jean Rollin’s LE FRISSON DES VAMPIRES (1971), films of bold colour and pop sensibility.

When we interviewed Francoise for NATAN at her apartment — a sensational pop art shagging palace in a penthouse towering over Paris with Bond villain aplomb — we had to carefully frame out all the amazing decor, which was utterly fabulous in a CLOCKWORK ORANGE/Warhol kind of way, but sort of inappropriate as a backdrop for a sombre discussion of her grandfather’s life and death. But it would be worth inventing a whole new film to shoot there just for the interior design and art.

Have you got yours?

Posted in FILM, Painting with tags , , , , , on November 8, 2014 by dcairns

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My complimentary Complete Tati box set arrived from Criterion! I promptly exploded it all over our crumbling floor and took a photo.

I have a little essay in the booklet, in the august company of James Quandt, Jonathan Rosenbaum and Kristin Ross. This may not be the chunkiest booklet I’ve ever featured in, but thanks to the art of David Merveille, it’s the one that feels most like an actual BOOK. Gorgeous. Tati’s longterm relationship with graphic artists like Lagrange and Etaix makes this the perfect way to go, design-wise. David Merveille is here.

The Complete Jacques Tati [Blu-ray]

Order yours! The distressed floorboards are not included, but you will be one giant step closer to being able to mock up the above image in your own home.

The essay can be read at Criterion’s website, here,  if you’re not into the whole buying thing, but you would be missing unbelievably beautiful transfers of some of the most unbelievably beautiful films ever made, and some terrific extras. After reading the booklet in the bath — to my relief, the essay seemed to hold up, and I wasn’t saying the same stuff as everyone else — I looked at the openings of all three versions of JOUR DE FETE. Definitely the right choice to lead with the original b&w release. There’s a lovely doc about the restoration of the Thomson Colour version, though, a scientific-cinematic detective story. The negative appeared to be black & white, but somewhere in its photochemical makeup was the information to produce colour prints. A nice bit of filmmaking: when the detective finally manages to project a single frame with the colours of 1949 magically recovered, we faintly hear Jean Yatove’s unforgettable theme tune wafting in the distance…

My Tati video essay is here. An earlier Tati essay I did for Criterion is here. And if you’re not sick of the sound of me on this subject yet, I have a piece on Tati’s collaboration with painter-designer Jacques Lagrange in the new Sight & Sound. Voila!

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